Prom Builders: Saluting the Risk-Taking, Culture-Changing Producers of Broadway’s Super-Original Musical Comedy Hit

Source material for Broadway musicals can come from almost anywhere. Of the 11 new musicals of the just-wrapped 2018-2019 season, four were adapted from Hollywood hits, two from the lives of music icons, and others from a 16th century romantic drama, Greek mythology and a sci-fi flavored YA novel. But just two completely original musicals arrived without a plot roadmap or a title that would inspire ticket sales based on name alone. And only one is still running, and dancing into Radio City Musical Hall on June 9 with seven Tony Award nominations including Best Musical.

That show is The Prom, the big-hearted musical comedy that opened under the radar at the Longacre Theatre last fall to mostly rapturous reviews from chief critics (and a Best Show of 2018 proclamation by Broadway.com). But even with strong word of mouth, an original musical is a hard sell, let alone one with LGBTQ themes (How many long-runners can you name with leading gay characters?) so box office for the show has been more respectable than record-breaking—although two recent weeks saw some of the best grosses in The Prom’s seven-month run.

Watch clips from The Prom below.

But the cultural impact of The Prom is indisputable. The message of unlikely trailblazer Emma, the lesbian teen at the story's center who yearns to take her girlfriend to the prom, has struck a chord in a big way. When the people behind the Macy’s Thanksgiving Day Parade aired a number from the musical—without removing a kiss for stars Caitlin Kinnunen and Isabelle McCalla at the end of the song—TV history was made. With major press appearances, producers have never glossed over what The Prom is about—with similar kisses on Good Morning America and The View, Kinnunen and McCalla have kissed all over daytime TV—and that kind of confidence should be celebrated.

Amazingly, the real reach of The Prom’s message of acceptance is still in the future. It’s a rarity for a Broadway musical to land a movie deal, but what’s happened for The Prom is completely unheard of. Ryan Murphy, one of the most celebrated and powerful men in Hollywood, is not only bringing the show to the big screen, but rushing it to get it in movie theaters, and then Netflix, next summer before the 2020 presidential election. His reason is simple—he’s fallen hard for the show and feels it can “change hearts, minds and votes.“

Of course, none of this would have happened without the determination and hard work of the producing team that brought The Prom to life over an eight-year journey. Here we talk to Bill Damaschke and Dori Berinstein—the pair that helped build the show from scratch—and partner Jack Lane, who came onboard after falling for the show at an out-of-town run in Atlanta, about the passion and perseverance necessary for pulling off a Broadway success like The Prom.

What sold you on The Prom as a producing project?

DORI BERINSTEIN: Over eight years ago, [director and choreographer] Casey Nicholaw invited Bill Damaschke and I to join [writers] Bob Martin, Chad Beguelin and Matthew Sklar at Bar Centrale to hear an idea for a brand-new original musical. We heard the very brief premise—an idea pitched to Casey by Jack Viertel—about a girl shut out of her prom because of intolerance and a group of Broadway divas who swoop down to save her, but make a complete mess of everything. We knew immediately it was a story we desperately wanted to tell—and this team had the passion, the talent and the vision to hit it out of the park. We were off and running immediately.

What’s the number one lesson you’ve learned about putting on a completely original musical on Broadway?

BERINSTEIN: Bringing any show to Broadway is a gargantuan undertaking. An entirely original musical—no matter how spectacular—certainly has unique challenges. You’re not just creating a show, you’re building a brand from scratch. When your show opens in a wonderful season jam-packed with familiar titles, creativity, perseverance and passion are imperative. Our entire Prom team—from day one—has been deeply committed to telling this urgent story of acceptance and tolerance. The deep love we all have for our original story and our company has enabled us to stay focused and committed over the past eight years.

What was the biggest challenge in getting the original story right for audiences?

BILL DAMASCHKE: Tone and balance. In The Prom, we have two different storylines and two different sets of characters that merge and are ultimately affected and changed by each other. The world, sound and tone of our big Broadway stars is very different from that of Emma, Alyssa and the town in the Midwest they visit. Since there was no map from previous source material, the creative team used the readings, workshops and out-of-town process to find the balance and tone of these stories in a surprising, funny and emotional way.

What’s the best way to market a title that nobody’s heard of?

JACK LANE: That’s the million dollar question! In my opinion, it’s a combination of making sure the campaign has context and building a grass roots operation. Social media has become a very organic way to get your message out. I believe in deeply researching who might be interested in the story. I always felt that original works literally have to be carried around and nurtured. Be honest in your sales pitch and people will listen. It’s a healthy challenge, to say the least.

What did your supporters and detractors say to you along the way?

BERINSTEIN: Our first four-week lab for The Prom took place a week after Marriage Equality passed in June 2015. Many told us they thought the time for a story about intolerance had passed. We felt that was like saying everything concerning discrimination had been resolved right after the Civil Rights Act was passed in 1964! Sadly, our story remained deeply relevant—not just for LGBTQ kids—but for anyone who ever felt disenfranchised. But who knew the world would change so radically so soon after that, and that our story of acceptance, tolerance, listening and bringing people together would become so front-burner urgent!
LANE: Supporters say, “Go with your gut, be moved by your heart.”

What makes you the proudest about the production playing at the Longacre Theatre?

DAMASCHKE: The family we have created along the way. Every person on The Prom understands how hard it is to get an original musical to Broadway these days. We have stuck with the project through many challenges and obstacles and all of us are appreciative to be in this season and we having a great time!
BERINSTEIN: The power of theater to transport an audience is thrilling to me. It’s such a visceral, one-of-a-kind experience. Watching audiences laugh hysterically one moment and then fight back tears the next—night after night—is tremendous. And our cast hears loud and clear at the stage door after every performance that The Prom is having a profound impact. Aside from being so much fun, the show is clearly a catalyst for change, hope and inspiration. That means everything.
LANE: I’m proud of it’s heart. It’s humor. The way it deeply moves every audience who sees it. And most definitely, the way it beautifully surprises people.

Every project has ups and downs. Can you share a particular low-point moment from the experience of producing The Prom?

DAMASCHKE: We had two particularly low, low moments that ultimately ended up being the best thing for The Prom because of how we managed through them. The first was when we were all set for a commercial out-of-town run in a city that did not ultimately work out for scheduling and financial reasons. Everything was set—the team and cast had all blocked their schedules and were ready and it seemed the entire project would fall apart. However, we quickly adjusted after feeling discouraged and found a new home for our out-of-town run at the Alliance Theatre in Atlanta. The production, team and audience there led us to some incredible break-throughs with the show that never would have happened had we gone to our original out-of-town city.

Then, we finished in Atlanta with great reviews and a lot of excitement around the show but could not secure a theater for the 2017-2018 season that worked for the schedules of Casey Nicholaw and the rest of the team. Skipping last season seemed like a crushing defeat at the time and everyone was initially very disappointed when we were offered a theater for a year later. As it has turned out, being part of the 2018-2019 Broadway season has been amazing for the show and everyone remarks on how timely and relevant our story is. So, in both cases, our very low moments ended up as breakthroughs for us. As they say, you can’t control the low moments. They will happen for sure! What you can do is manage your response to them.

Finally, The Prom received seven 2019 Tony Award nominations including Best Musical and will be performing on the telecast. What are you most excited about seeing the show on the Tonys?

BERINSTEIN: Sharing the story of The Prom with the world has been our dream from day one. As an original musical, getting to perform a number from the show in front of a global audience is massive for us. We also have a multigenerational cast made up of incredible Broadway veterans as well as 13 young cast members making their Broadway debut. Tony night will be a thrilling night for everyone!